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The    working 
of  a  simple 
paper 
told  in 
simple  terms 


Velox  may  be  safely  manipu- 
lated ten  feet  from  the  ordinary 
gas  flame. 


Revised 
November,  1915 


THE  GETTY  CENI£R 

I   IDDC.DV 


VELOX 


Velox      Velox  is  the  original  "gas-light"  or 
the        developing-out   paper.       Up    to   the 
Original  time   Velox   was   introduced    (1889) 
the  amateur  photographer  was  prac- 
tically dependent  on  daylight  and  the  more  or 
less    slow    printing-out    papers,    and    on    dark, 
cloudy   days   printing   had    to   be   entirely   sus- 
pended.       When    Velox    was    first    introduced 
most  photographers  were  skeptical  as  to  results 
and    could   comprehend    neither    the    economic 
nor  the  artistic  possibilities  of  the  new  product. 

A  careful  trial  proved  its  value  and  soon 
Velox  was  almost  universally  used  whenever 
the   saving  of   time   was  important. 

To  the  amateur  Velox  was  especially  wel- 
come, as  its  speed  afforded  ample  time  for 
making  prints  and  its  various  surfaces  gave 
opportunity  to  produce  artistic  results  previ- 
ously impossible. 

The  fact  that  prints  could  be  made  at  any 
time  of  day  or  night,  by  any  light,  quickly  pop- 
ularized this  product  among  the  users  of  pho- 
tographic papers. 

Adaptability  Velox  is  suitable  for  evecy 
class  of  work  as  is  fully  demon- 
strated under  the  heading  of  "Grades  and  De- 
grees of  Contrast.''  Velox  should  not  be  con- 
fused with  Bromide  or  any  other  paper ;  it  has 
distinctive    qualities    of    its    own    which    have 

1 


never  been  successfully  imitated.  Many  im- 
provements have  recently  been  made  in  its 
manufacture  and  to-day  Velox  is  the  perfected 
product  of  years  of  experiment. 

The  different  surfaces,  grades  and  degrees 
of  contrast  in  which  it  is  manufactured  enable 
the  user  to  produce  good  prints  from  almost 
any  negative,  suiting  his  tastes  as  well  as  the 
peculiar  requirements  of  the  negatives. 

Grades        Velox   is   made    in    six   different 

and  grades  and  divided  broadly  into 

Degrees  of    three  degrees  of  contrast,  called 

Contrast  "Contrast,"  "Regular"  and  "Spe- 
cial." As  these  trade  terms  have 
reference  to  contrast  and  not  to  surface,  we 
could  as  well  say  "hard,"  "medium"  and  "soft." 
There  will  be  found  a  variety  of  surfaces. 
Choose  the  surface  which  best  suits  you  and 
which  will  harmonize  with  the  subject  of  your 
picture.  Select  your  negative,  remembering 
that  the  "Contrast"  and  "Regular"  papers  de- 
velop quickly,  and  are  adapted  to  negatives 
lacking  contrast,  and  known  as  "thin"  or 
"weak"  negatives.  "Special"  papers  require 
longer  development  (as  compared  with  the 
"Contrast"  and  "Regular")  and  are  for  use 
with  "contrasty"  negatives.  Such  negatives 
are  also  referred  to  as  being  strong,  thick, 
dense  or  hard. 

Royal  Velox  is  furnished  in  both  "Regular" 
and  "Special"  but  in  one  weight  only  and  dif- 
fers from  the  other  Velox  papers  in  that  it  is 
coated  on  a  stock  having  a  cream  tint,  just  a 
soft  mellow  tone  that  prevents  harshness  in 
the  high  lights.  The  stock  is  somewhat  heavier 
than  the  usual  Velox  stock,  about  half  way  be- 
tween the  single  and   the  double   weight. 

Royal  Velox  prints  are  delightful  when  de- 
veloped in  the  ordinary  way,  but  to  get  their 
full  value  should  be  re-developed.  (See  page 
32.) 


The  Right  and  Wrong  Paper 
to  Use 

An  average  negative  or  one  that  will  produce 
good  results  with  printing-out  paper  should  be 
printed  on  Special  while  Contrast  and  Regular 
Velox  are  adapted  to  negatives  which  are  too 
soft  for  other  photographic  papers,  or  when 
hard,   contrasty  prints   are   required. 

To  those  familiar  with  Velox  paper  it  is  an 
easy  matter  to  select  the  grade  which  is  best 
suited  for  the  results  desired.  The  novice, 
however,  is  guided  usually  by  the  advice  of 
others  and  often  is  misled  into  using  a  wrong 
grade  of  Velox,  thereby  failing  to  secure  the 
results  expected  and  is  inclined  to  believe  that 
the  paper  is  at  fault. 

The  following  illustrations  will  act  as  a 
guide  to  the  best  paper,  Contrast,  Regular  or 
Special  Velox,  to  be  used  with  negatives  vary- 
ing as  to  their  contrasts. 

NOTE — When  selecting  the  proper  paper,  remem- 
ber that  Contrast  Velox  is  best  adapted  for  use  with 
the  thinnest  and  flattest  negatives. 


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An  over-exposed  and  over-developed  nega- 
tive (difficult  to  illustrate)  is  dense  through- 
out, necessitating  a  very  long  exposure  to  the 
light  in  order  to  affect  the  paper. 

Such  a  negative  is  best  printed  on  Regular 
Velox. 

The  following  table  of  grades,  surfaces  and 
degrees  of  contrast  of  Velox  should  be  an  aid 
to  those  contemplating  using  this  paper. 

Grades.  Surfaces  and  Degrees  of  Contrast 


GRADE 

SURFACE 

CONTRAST 

*Velvet  Velox 

Semi-Gloss 

Special 

*  Velvet  Velox 

Semi-Gloss 

Regular 

*  Velvet  Velox 

Semi-Gloss 

Contrast 

*Portrait   Velox 

Smooth   Matte 

Special 

Carbon  Velox 

Matte 

Special 

Carbon  Velox 

Matte 

Regular 

Carbon  Velox 

Matte 

Contrast 

Rough  Velox 

Rough  Matte 

Special 

*  Glossy  Velox 

Enameled 

Special 

*Glossy  Velox 

Enameled 

Regular 

Royal  Velox 

Matte 

Special 

Royal  Velox 

Matte 

Regular 

*Furnished  also  in  Double  Weight  Velox;  double 
weight  papers  require  no  mount  and  when  printed 
under  a  mask  which  will  insure  a  white  margin,  afford 
a  very  artistic  effect. 


Velox  Glossary 

In  order  that  the  beginner  may  understand 
and  be  fully  informed,  the  following  glossary 
has  been  compiled,  including  all  technical  terms 
indispensable  in  describing  the  characteristics 
and  manipulation  of  Velox. 
Abrasion  Marks 

Black    lines    or    markings    produced    on    the 
surface  of  photographic  paper  by  rubbing  or 
pressure. 
Actinic 

The  "actinic  rays"  of  light  are  those  which 
produce    chemical    changes   or   photographic 
action. 
Actinometer 

A  name  erroneously  applied  to  a  form  of 
Hydrometer  which  is  intended  to  show  the 
strength  of  a  silver  bath  in  grains  of  Silver 
Nitrate,  per  ounce  of  solution.  This  instru- 
ment is  often  used  arbitrarily  to  measure 
the  strength  of  Sodium  Sulphite,  Sodium 
Carbonate,  also  Hypo  solutions. 

Air  Bells 

Bubbles  on  sensitized  surface  of  prints,  pro- 
duced by  immersing  the  paper  face  down  in 
the  developer  or  by  using  too  small  amount 
of  solution. 

Bath 

A  term  applied  to  a  toning,  developing  or 
other  solution. 

Blisters 

(See  article  on  page  33.) 

Burnisher 

A  device  for  securing  a  high  gloss  or  polish 
on  certain  photographic  papers. 

8 


Concentrated 

As  applied  to  Nepera  liquid  preparations 
means  that  the  chemicals  which  comprise 
them  have  been  dissolved  in  the  least  possi- 
ble quantity  of  water.   (See  pages  19  to  22.) 

Contrast?" 

A  term  applied  to  prints  meaning  hard, 
"chalky,"  extremely  black  shadows  and  white 
highlights ;  lacking  in  detail  as  applied  to 
negatives. 

Dense 

Applied  to  negatives  which  have  been  over- 
developed. 

Desiccated 

Anhydrous.  Dry  powder,  not  crystals.  Ap- 
plied" to  chemical  salts  from  which  all  water 
has  been  removed. 

Developing-Out  Paper,  or  D.  O.  P. 

Sensitized  paper  upon  which  the  photograph- 
ic image  is  invisible  until  development  has 
taken  place.  Applied  to  "gas-light"  papers  or 
those  printed  by  artificial  light.  Generally  ap- 
plied to  such  of  these  papers  as  require  long- 
er exposure  than  Bromide  papers. 

Diffused  Light 

Light  which  does  not  strike  directly,  but  is 
arrested  and  diffused  by  some  medium  such 
as  ground  glass. 

Dodgre 

To  dodge  is  to  prevent  light  from  striking 
a  portion  of  a  negative  when  printing  by 
shading  that  portion  with  some  opaque  body. 

Emulsion 

A  term  applied  to  the  sensitized  coating  on 
plates,  films  or  paper,  which  is  acted  upon 
by  the  light  rays. 


Embossing   Hoard 

A  device  for  producing  prints  having  coun- 
tersunk margins. 

Exposure 

The  act  of  submitting  sensitized  surfaces  to 
the  action  of  light. 

Fixing,   Fixing-Out 

To  remove  the  excess  of  sensitive  salts, 
which  has  not  been  acted  upon  by  the  light, 
so  that  the  image  will  be  rendered  perma- 
nent. 

Flat 

Weak  or  thin,  lacking  contrast.  (Applied  to 
prints  or  negatives.) 

Forcing 

Prolonging  development  of  under-exposed 
prints,  films  or  plates. 

Ferro  Tin,  Ferrotype  Plate 

Thin  plates  of  Japanned  iron  especially  pre- 
pared for  squeegeeing  prints. 

Freaks 

Peculiar  white  markings  caused  by  incorrect 
developing  solutions.  (See  article  on  page 
37.) 

Fog 

Dim,  grayish  color  produced  by  white  light 
striking  the  paper  before  or  during  develop- 
ment. Hazy,  dim  appearance  in  lights  and 
shadows,  due  to  an  error  in  the  preparation 
of  developer,  or  may  be  caused  by  impure 
condition  of  chemicals  used.     (See  page  35.) 

Half-Tones 

All  gradations  between  highlights  and  deep- 
est shadows. 

Graduate 

A  receptacle  for  measuring  liquids.  Xepera 
Solution,    Velox    Liquid    Developer,    N.    A., 

10 


and  Velox  Liquid  Hardener  are  contained 
in  graduated  bottles. 

Hard 

Contrasty,  lacking  detail.  Applied  to  nega- 
tives or  prints. 

Hardener 

(See  Velox  Liquid  Hardener,  page  23.) 
High   Lights 

Brightest  or  whitest  parts  of  an  image.  The 
denser  portions  of  a  negative  or  the  lightest 
parts  of  a  print. 

Hydrometer 

An  instrument  intended  to  test  the  density 
of  liquids.  In  photography  it  is  often  used 
instead  of  weights  or  measures  in  the  prepa- 
ration of  solutions.  (See  Actinometer, 
page  8.) 

Hypo 

The  abbreviation  of  the  term  Sodium  Hypo- 
sulphite, or  more  correctly,  Sodium  Thiosul- 
phate,  used  for  fixing  plates,  films  and  paper, 
may  be  obtained  for  use  in  either  granulated 
or  crystal  form. 

Latitude 

Refers  to  the  limits  within  which  exposure 
or  development  can  safely  be  carried  on. 

Milky 

Appearance  of  some  incorrect  fixing  baths. 
Often  the  result  of  using  impure  chemicals. 

Negative 

The  picture  obtained  in  the  camera  by  ex- 
posing a  specially  prepared  glass  plate  or  a 
film,  which  when  developed  produces  an 
image  whose  lights  and  shadows  are  reversed. 

Non-Actinic    (Light) 

Is  known  photographically  as  being  a  light 
which  has  no  effect  on  sensitized  surfaces. 

11 


Oxidation 

As  applied  to  developer — a  deterioration  due 
to  the  presence  of  oxygen.  An  oxidized  de- 
veloper is  dark  in  color  and  usually  causes 
discoloration  of  the  print. 

Over-Exposure 

Too  long  exposure  to  printing  light. 

Over-Development 

Too  long  a  time  in  the  developing  solution. 

P.  O.  P.  or  Printing-Out  Paper 

Sensitized  paper  upon  which  the  image  be- 
comes visible  on  printing  and  is  made  per- 
manent by  toning  and  fixing. 

Printing:  Frame 

A  specially  constructed  frame  for  making 
prints.  Holds  the  negative  and  sensitive  pa- 
pers in  contact  while  printing. 

Positive 

A  term  used  in  contradistinction  to  negative. 

Precipitate 

A  substance  which,  having  been  dissolved,  is 
again  separated  from  its  solvent  and  settles 
to  the  bottom  of  the  vessel  containing  it. 

Shadows 

The  thinner  portions  of  a  negative  or  the 
darker  portions  of  a  print. 

Squeegeeing 

Placing  wet  prints  face  down  on  ferrotype 
plates  to  obtain  high  polish. 

Squeegee 

Usually  a  strip  of  soft  rubber  set  in  a  handle, 
or  a  rubber  roller,  and  used  to  place  a  print 
in  contact  with  the  ferrotype  plate. 

Squeegee  Tins 

(See  ferrotype  plates.) 
12 


Soft 

Term  applied  to  print  or  negative;  refers  to 
lack  of  brilliancy  or  contrast.  A  "soft"  print 
will  contain  all  possible  detail. 
Stretcher 
A  light  frame  covered  with  cheesecloth  on 
which  prints  may  be  laid  to  drv.  (See  page 
24.) 

Spotting 

Touching   out   spots    or   defects   in    finished 
prints  with  a  fine  sable  brush  and  India  ink 
or  spotting  colors. 
Ten  Per  Cent.   Solution 

Approximately,  a  solution  made  by  dissolv- 
ing one  ounce   (by  weight)   of  dry  chemical 
in  nine  fluid  ounces  of  water. 
Tone 

The  shade,  hue  or  degree  of  color  prevailing 

in  a  negative  or  print. 
Thick 

(See  dense.) 
Under-Exposure 

Too  short  an  exposure   for  perfect  results. 

Weak 

Thin,  soft,  lifeless,  lacking  contrast. 


13 


Manipulation 

Velox  prints  may  be  successfully  made,  using 
daylight  for  exposure,  but  we  strongly  recom- 
mend that  artificial  light  be  used,  as  it  is  much 
more  uniform,  and  it  will  therefore  be  easier 
to  obtain  satisfactory  prints.  If  daylight  is 
used  select  a  north  window,  if  possible,  as  the 
light  from  this  direction  will  be  more  uniform. 
Owing  to  its  sensitiveness  the  paper  should  be 
handled  in  a  very  subdued  light,  otherwise  it 
will  be  liable  to  fog.  Proper  precautions  should 
be  taken  to  pull  down  the  window  shades  and 
darken  the  room  sufficiently  during  manipula- 
tion. To  test  your  working  light,  place  an  un- 
exposed sheet  of  Special  Velox,  emulsion  side 
up,  on  your  work  table  in  the  same  position 
that  your  developing  tray  occupies;  cover  one- 
half  of  it  with  a  sheet  of  cardboard  and  let  it 
remain  there  for  tzvo  minutes,  then  develop  it 
face  down  for  45  seconds.  If  the  half  of  the 
sheet  which  was  uncovered  turns  grey  or  black, 
and  the  covered  portion  remains  white,  it  is  a 
positive  indication  that  the  light  you  arc  using 
is  too  strong.  If,  however,  the  entire  sheet  re- 
mains white,  your  light  is  safe.  Never  handle 
Velox  in  a  light  that  will  not  stand  this  test. 
If  the  light  is  too  strong  for  printing  it  should 
be  subdued  or  diffused  by  the  use  of  several 

14 


thicknesses  of  white  tissue  paper  or  one  thick- 
ness of  orange  or  post  office  paper. 

In  the  following  instructions  for  manipulat- 
ing Velox,  it  must  be  understood  that  artificial 
light  will  be  the  light  used.  A  kerosene  lamp, 
fitted  with  a  round  burner  (known  as  Roch- 
ester burner)  may  be  used,  but  owing  to  the 
decidedly  yellow  light  this  affords,  a  consider- 
ably longer  exposure  will  be  necessary  than 
when  using  a  Mazda  lamp. 

The  comparative  exposures  with  Special  Ve- 
lox using  various  sources  of  light  are  as  fol- 
lows : 


NOTE — When    using    Contrast   and    Regular    Velox, 
increase   the   exposure. 


4x5  and 
Smaller 


3-3 

3-3 

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£3 

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£  §C 

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OS 

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10 

4 

6 

12 

16 

Inches 

Seconds 

Seconds 

Seconds 

Seconds 

MB 

<"5 


50 

Seconds 


This  table  is  only  approximate,  as  owing  to 
the  different  lights  used  and  the  varying  densi- 
ties of  negatives  it  is  impossible  to  give  an  ab- 
solute rule.  It  serves,  however,  as  a  guide  to 
enable  the  beginner  to  approximate  the  correct 
exposure.  From  this  obtain  the  correct  time, 
always  being  guided  by  the  rule  as  to  time  of 
development  given  on  page  18. 

IS 


Printing  The  absolute  necessities  for  mak- 
Requisltes  mg  yelox  prints  are  few  in  num- 
ber and  simple  in  character. 
Either  daylight  or  artificial  light  is  of  course 
essential,  also  developing  solutions  and  water 
for  washing  the  prints.  The  ordinary  printing 
frame  is  used  in  making  exposures.  The  artis- 
tic possibilities  of  Yelox  make  it  worthy  of  the 
study  of  all  photographers  and  a  convenient 
apparatus  for  measuring  the  distance  from  the 
light  and  for  adjusting  each  negative  to  the 
proper  angle  of  exposure  is  of  great  assistance. 

Aside  from  suitable  light  and  work  room, 
you  will  require  : 

3  trays,  preferably  enameled  iron  (a  full  size 
larger  than  the  prints  to  be  made). 

1  printing  frame  (and  glass  to  fit,  if  films 
are  to  be  printed). 

1  4-ounce  graduate. 

1  bottle  Nepera  Solution. 

1  bottle  Velox  Liquid  Hardener. 

1  pound  Crystal  or  Granulated  Hypo. 

1  package  each  of  Contrast,  Regular  and 
Special  Velox. 


16 


Arrange  the  three  trays  before  you  on  your 
work  table  in  this  order : 


1  oz.  Nepera 

Solution 
4  ozs.  Water 

1 


Clean  Water 


4  ozs.  Hypo. 

16  ozs.  Water 

1  oz.  Velox 

Liquid  Hardener 


NOTE — Do  not  allow  the  direct  rays  of  light  used 
for  printing  to  strike  tray  No.  1,  which  is  used  for 
the  developer.  Place  a  piece  of  red  or  orange  col- 
ored paper  between  the  light  and  tray  No.  1,  so  as  to 
obtain  a  subdued  and  safe  light.  By  doing  so  you 
will  avoid  fogging  the  paper  during  development. 

In  the  center  of  the  above  spaces  we  have 
indicated  the  solution  which  each  tray  should 
contain  when  developing  either  Contrast,  Reg- 
ular or  Special  Velox.  Do  not  be  too  sparing 
of  the  amount  of  the  solutions  used,  especially 
of  your  fixing  bath  (Tray  No.  3)  ;  if  making 
three  or  four  dozen  prints  (4x5)  use  a  full 
pint  (see  formula,  page  23)  ;  and  do  not  keep 
it  after  using,  as  a  fresh  bath  will  give  best 
results. 

Proper  temperature  is  important  and  for  best 
results  the  developer  should  be  70  degrees  Fahr. 
and  the  fixing  bath  and  wash  zvater  50  degrees 
Fahr,  If  the  developer  exceeds  70  degrees  the 
prints  are  liable  to  fog  and  the  emulsion  soften. 
If  too  cold,  chemical  action  is  retarded,  result- 
ing in  flat,  weak  prints. 

Printing  You  are  now  ready  for  exposure 
and  the  printing  frame  should  be 
filled.  Place  the  sensitized  side  of  the  sheet  of 
Velox  against  the  film  or  dull  side  of  the  nega- 
tive. The  paper  curls  slightly,  the  sensitive 
side  being  concave.  An  absolute  test  is  to  bite 
the  corner  of  the  sheet;  the  sensitive  side  will 
adhere  to  the  teeth. 


17 


Place  the  printing  frame  the  correct  distance 
from  the  artificial  light  used,  holding  the  frame 
away  from  the  burner  a  distance  equal  to  the 
diagonal  of  the  negative.  To  prove  that  the 
light  is  evenly  diffused  at  the  point  selected  for 
exposure,  take  a  piece  of  white  cardboard,  the 
size  of  the  negative,  and  move  its  position  with 
reference  to  the  light,  until  you  find  the  short- 
est distance  at  which  an  even  illumination  is 
secured.  A  few  seconds  exposure  will  be  re- 
quired when  printing  an  average  negative  on 
Velox.  We  would  suggest  before  making  the 
first  exposure,  the  cutting  of  a  piece  of  Yelox 
paper  into  strips  about  an  inch  wide  and  placing 
one  of  them  over  an  important  part  of  the  neg 
ative,  make  the  exposure,  using  your  best  judg- 
ment as  to  the  distance  from  the  light  and  the 
time  of  printing.  Develop  it  and  if  not  satis- 
factory try  another  strip,  varying  the  time  as 
indicated  by  the  first  result.  When  the  desired 
effect  is  secured,  you  can  make  any  number  of 
prints  from  the  same  negative,  and  if  the  time 
of  exposure,  distance  from  light  as  well  as  the 
time  of  developing  are  identical,  all  the  prints 
should  be  equally  good.  By  comparing  your 
other  negatives  with  the  one  you  have  tested, 
you  will  be  able  to  make  a  fairly  accurate  esti- 
mate of  the  exposure  required  by  any  negative. 

After  taking  the  exposed  piece  of  paper 
from  the  printing  frame,  in  a  safe  place  previ- 
ously selected,  it  is  ready  for  development.  The 
dry  print  should  be  immersed  face  up  in  the 
developer  (Tray  No.  1)  and  quickly  and  evenly 
covered  with  the  solution.  Contrast  and  Reg- 
ular ITc!ox  should  be  developed  to  the  proper 
depth  in  from  fifteen  to  twenty  seeonds;  Spec- 
ial in  about  thirty  seeonds.  With  our  prepared 
developers,  the  addition  of  Potassium  Bromide 
is  unnecessary,  the  correct  proportion  being  in- 
cluded. As  soon  as  the  image  has  reached  the 
desired   depth    remove    from   the   developer   to 

18 


tray  (Xo.  2)  and  rinse  for  a  moment,  turning 
the  print  several  times,  then  place  it  in  the  acid 
fixing  bath  (Tray  Xo.  3)  keeping  the  print 
moving  for  a  few  seconds,  the  same  as  was 
done  when  rinsing,  so  as  to  give  even  and 
thorough  fixing,  preventing  stains  and  other 
troubles.  Leave  the  print  in  this  solution  until 
thoroughly  fixed ;  this  will  take  about  fifteen 
minutes.  When  fixed  remove  from  fixing  bath 
and  wash  thoroughly  for  about  an  hour  in  run- 
ning water,  then  dry.  After  drying,  prints  may 
be  trimmed  and  mounted. 

You  should  be  systematic  in  working,  re- 
membering that  cleanliness  is  essential  in  pho- 
tography. Care  should  be  taken  to  prevent  the 
Hypo  in  any  way  getting  into  the  tray  contain- 
ing the  developer.  Have  a  clean  towel  when 
beginning  the  work  and  rinse  and  wipe  your 
hands  each  time  after  you  have  handled  prints 
in  Hypo  solution. 

Xotes  on  Velox  requires  a  special  de- 
Development  veloper  and  should  not  be 
used  with  one  made  for  plate 
and  film  development  only.  Xepera  Solution, 
however,  is  a  universal  developer — see  page  21. 
Various  developing  agents  are  used  in  the  pro- 
duction of  Velox  prints  and  are  marketed  un- 
der different  trade  names  such  as  Amidol, 
Ortol,  Edinol,  Elon,  Hydroquinone,  etc.  Ami- 
dol affords  a  very  blue-black  tone,  but  owing 
to  rapid  oxidation,  a  fresh  solution  should  be 
mixed  each  time  prints  are  to  be  made.  Ortol 
and  Edinol  afford  very  satisfactory  results.  It 
has  been  proven,  however,  that  Elon  and  Hy- 
droquinone in  combination  yield  the  very  best 
results  on  Velox  when  used  in  the  proportion 
given  in  our  formula.  Owing  to  the  difficulty 
many  have  in  securing  absolutely  pure  chemi- 
cals and  the  trouble  and  subsequent  loss  of  ma- 
terial to  those  attempting  to  compound  their 
own  developers,  we  recommend  the  use  of  our 

19 


liquid  developers,  Nepera  Solution  and  N.  A. 
Velox  Liquid  Developer,  for  Velox  papers.  To 
those  who  prefer  to  prepare  their  own  solution, 
we  advise  the  following  formula  : 

M-Q  (Dissolve  chemicals  in  the  order 

Developer  named.) 

METRIC 
SYSTEM 

Water    10  ounces  =  300  c.  c. 

Elon    7   grains  =    l/2   gramme 

E.    K.   Co.    Sulphite    Soda..    110  grains  —      7  grammes 

Hydrochinon     30  grains  ==      2  grammes 

E.    K.    Co.    Carbonate    Soda   150  grains  =    10  grammes 
10  per  cent.   Solution  Potas- 
sium   Bromide    40  drops    =   40  drops 


This  solution  will  keep  indefinitely  if  placed 
in  bottles  filled  to  the  neck  and  tightly  corked. 
It  should  be  used,  diluted  with  equal  parts  of 
water,     for    the     "Contrast,"     "Regular"     and 

"Special"  papers. 

If  tube  developers  are  desired  we  recom- 
mend the  Kodak  Non-Abrasion  M.  Q.  Tubes 
or  the  Eastman  M.  Q.  Tubes  which  correspond 
respectively  to  Velox  Liq.  Dev.  N.  A.  and 
Xepera   Solution. 


X.  A.  Velox      This  is  an  excellent  ready-to- 
Liquid  use     concentrated     developer 

Developer  for  Velox  papers.  Unlike  any 
other  developer,  it  has  certain 
qualities  which  make  it  unique  in  photographic 
work.  X.  A.  (non-abrasion)  means  that  all 
abrasion  or  friction  marks,  to  which  all  glossy 
developing-out  papers  are  peculiarly  suscepti- 
ble, will  be  prevented  by  this  solution.  Another 
feature  is  the  guide  it  gives  to  thorough  fixing 
— the  print  is  not  absolutely  fixed  until  the 
canary  yellow  color  entirely  disappears  by  fix- 
ing in  a  correctly  prepared  Acid  Hypo  Rath. 

20 


The  following  formula  should  be  used  for 
Contrast,  Regular  or  Special  Yelox  : 

X.    A.   Velox  Liquid   Developer    1   oz. 

Water     4   ozs. 

It  is  important  that  the  temperature  of  the 
developing  solution  should  be  70  degrees  Fahr. 
In  summer,  if  found  necessary  to  cool  the  de- 
veloper, do  not  place  ice  in  the  solution,  as  it 
will  dilute  it.  Place  the  tray  containing  devel- 
oper into  one  of  larger  size,  packing  ice  around 
it.  X.  A.  DEVELOPER  SHOULD  XOT 
BE  USED  FOR  DEVELOPING  PLATES, 
FILMS  OR  BROMIDE  PAPERS. 

Xepera  This  is  known  as  the  ''universal" 
Solution  developer  because  it  may  be  used 
not  only  for  Velox,  but  Azo,  Bro- 
mide paper,  films  or  plates.  Like  all  Xepera 
liquids,  it  is  a  concentrated  solution  with  the 
combination  of  purest  chemicals  which  will 
give  the  best  results.  It  differs  from  X.  A. 
Velox  Liquid  Developer  in  that  it  does  not 
possess  the  non-abrasion  and  fixing-guide  prop- 
erties :  but  on  the  other  hand,  when  used  in 
combination  with  X'epera  Capsules,  it  is  excel- 
lent for  films  or  plates,  giving  negatives  of  the 
quality  best  suited  for  developing-out  paper. 

For  Contrast,  Regular  or  Special  Velox  use : 

Xepera   Solution    1   oz. 

Water     4  ozs. 

The  temperature  of  the  bath  should  be  70 
degrees   Fahr. 

For  Bromide  papers  use  : 

Xepera   Solution    1   oz. 

Water     6  ozs. 

For  Film  in  Kodak  Film  Tank  use  in  follow- 
ing proportion : 

Xepera     Solution     y2   oz. 

Water     12   ozs. 

Contents    of   one   Xepera   Auxiliary    Pow- 
der  or   Xepera    Capsule. 

Develop    for   twenty    minutes. 

21 


Without  Tank  or  Developing  machine,  use: 

Nepera    Solution     y2   oz. 

Water     8  ozs. 

Contents   of   one    Nepera    Auxiliary    Pow- 
der or  Nepera  Capsule. 

Temperature   should   be   65    degrees   Fahr. 

Fixing-  Hypo  may  be  obtained  for  use  in 
either  a  granulated  or  crystal  form. 
Its  purpose  is  to  dissolve  the  silver  salts  which 
have  not  been  acted  upon  by  light.  The  im- 
portance of  this  chemical  is  evident,  but  it  is 
probable  that  no  part  or  process  of  photogra- 
phy is  more  abused  than  that  of  correctly  pre- 
paring a  fixing  bath  and  properly  fixing  prints. 
To  secure  permanency,  prints  must  be  fixed  in 
a  fresh,  acid  fixing  bath.  When  Hypo  is  first 
dissolved  in  water,  the  temperature  of  the  solu- 
tion is  materially  reduced.  //  is  important  that 
the  temperature  of  a  fixing  bath  should  be  main- 
tained as  near  to  50  degrees  Fahr.  as  possible. 
Probably  more  prints  change  color  from  in- 
sufficient fixing  than  lack  of  washing,  so  these 
points  should  be  given  attention.  Have  plenty 
of  solution  strong  enough  to  thoroughly  fix 
prints  in  at  least  15  minutes.  Always  use  the 
acid  hardener  in  the  bath,  as  it  will  overcome 
the  tendency  of  the  fixing  bath  to  cause  blisters 
and  sta'ns,  and  move  the  prints  about  for  the 
first  fezv  seconds  after  immersion  to  stop  the 
action  of  the  developer  at  once  over  the  entire 
surface  of  the  print. 

Note — Never  use  a  fixing  bath  for  paper 
that  has  been  used  for  the  fixing  of  films  or 
plates. 

Our  formula  for  preparing  the  Acid  Hypo 
fixing  bath  is  as  follows : 

Water     64  ozs. 

Hypo   (crystal  or  granulated)    16  ozs. 

When  thoroughly  dissolved,  add  4  ozs.  Velox 
Liquid   Hardener  or   the    following  hardening 

22 


solution,    dissolving    the    chemicals    separately 
and  in  the  order  named : 

Water     5  ozs. 

E.   K.   Co.    Sulphite   of   Soda    1   oz. 

Acetic    Acid    (containing    28    per    cent. 

pure    acid)     3   ozs. 

Towdered  Alum    1   oz. 

This  solution  will  keep  if  placed  in  tightly 
corked  bottles,  and  one  pint  of  it  will  fix  one- 
half  gross  of  4x5  prints.  If  sulphite  and  car- 
bonate of  soda  in  crystal  form  are  substituted 
for  desiccazcd,  double  the  quantities  mentioned 
should  be  used. 

Amateurs  will  find  it  advisable  to  use  our 
prepared  solutions,  and  the  concentrated  Velox 
Liquid  Hardener  is  especially  recommended. 

Water 16   ozs. 

Hypo     4  ozs. 

Velox  Liquid   Hardener    1   oz. 

XOTE — To  those  who  wish  to  purchase  the  Devel- 
oper and  Acid  Fixing  Rath  in  dry  form  we  recom- 
mend our  tube  developers  for  Velox  and  Kodak  Acid 
Fixing  Powder. 

Xotes        The  finished  prints  must  be  entire- 
On  ly   free   from   hypo.       To   wash  a 

Washing  batch  of  100  4x5  prints,  using  two 
trays  of  suitable  size  and  transfer- 
mg  each  print  separately  from  one  tray  to  the 
other,  changing  the  water  at  least  twelve  times, 
will  take  a  full  hour  for  the  process.  In  run- 
ning water,  where  the  prints  can  be  kept  con- 
stantly moving  so  that  each  individual  print 
has  a  thorough  washing,  from  one-half  to  one 
hour,  according  to  the  number  of  prints,  will  be 
required.  Prints  do  not  wash  if  piled  in  a 
bunch  in  a  tray  and  the  water  simply  runs  in 
at  one  end  of  the  tray  and  out  the  other.  In 
some  localities  where  there  is  an  excessive 
amount  of  iron  or  impurity  in  water,  the  whites 
in  the  prints  may  have  a  slight  yellowish  tone 
or  small  red  spots  may  appear.  These  may  be 
prevented  by  filtering  the  water  used  through 

23 


several  thicknesses  of  muslin  or  one  thickness 
of  canton  flannel  Prints  need  not  wash  any 
longer  than  is  necessary  to  completely  free 
them  from  hypo.  The  temperature  of  the 
water  in  winter  should  be  kept  as  uniform  as 
possible,  as  ice  cold  water  will  cause  blistering. 
When  running  water  is  used  for  washing,  the 
stream  should  not  be  allowed  to  fall  directly  on 
the  prints  as  it  will  cause  breaks  in  the  fiber  of 
the  paper,  producing  blisters.  Place  a  tumbler 
or  graduate  in  the  washing  tray  and  allow  the 
water  to  run  into  it  and  overflow  into  the  tray. 
To  determine  when  the  print  is  thoroughly 
free  from  hypo,  the  following  test  formula 
may  be  successfully  employed : 

Permanganate   of  Potash    8  grs. 

Caustic   Soda    7  grs. 

Water    (distilled)    8  ozs. 

This  solution  should  be  made  up  fresh  at 
least  once  a  month. 

Fill  a  glass  with  pure  water  to  which  you 
have  added  three  or  four  drops  of  potash  solu- 
tion. Then  take  a  couple  of  prints  from  the 
wash-water  and  allow  the  water  from  the 
prints  to  drip  into  the  glass.  If  hypo  is  pres- 
ent, the  violet  color  of  the  water  in  the  glass 
will  change  to  a  slight  greenish  tint  in  from 
five  to  seven  minutes.  In  such  case  return 
prints  to  wash-water  to  remain  until  similar 
tests  show  that  the  hypo  has  been  entirely  elim- 
inated. 

Drying  After  prints  have  been  thoroughly 
washed,  remove  from  the  wash- 
water  and  place  on  a  clean  glass  in  a  pile  face 
down  and  press  out  superfluous  water.  Then 
lay  out  separately,  face  down  on  cheese-cloth 
stretchers.  These  may  be  constructed  by  mak- 
ing a  frame  work  of  light  wood  and  tacking 
unbleached  cheese-cloth  tightly  over  it.  Prints 
dried  in  this  manner  will  curl  but  a  trifle. 

24 


If  stretchers  are  not  to  be  had,  dry  the 
prints  face  down  on  clean,  tincolored  cloths,  or 
towels,  which  are   free   from  lint. 

Never  dry  Velox  prints  betzueen  blotters  or 
on  papers.  They  are  likely  to  stick  and  cause 
much  annoyance. 

Enameled  Glossy  Velox  (not  Matte  or  Semi- 
Surface     Matte)  prints  can  be  burnished  or 
Paper      squeegeed.     Take  prints   from  the 
wash-water   and  place   face   down 
on  a  ferrotype  tin,  squeegee  into  absolute  con- 
tact and  allow  to  become  bone  dry,  when  they 
will  peel  off  with  the  desired  luster.    If  the  tin 
has   been   in   use   for   some   time,   portions   of 
prints  may  stick;  to  prevent  this,  prepare  the 
tins  as  follows  : 

Dissolve  ten  grains  of  beeswax  in  one  ounce 
of  benzine ;  allow  this  to  stand  for  a  few 
hours,  in  which  time  a  precipitate  will  be 
formed.  The  clear  solution  should  be  used  for 
polishing  the  tins,  applying  to  the  surface  of 
the  ferrotype  plate  with  a  soft  cloth  (canton 
flannel).  \Yhen  the  surface  of  the  tin  has  been 
thoroughly  covered  with  this  preparation  the 
tin  should  be  polished  with  a  piece  of  dry  can- 
ton flannel  to  remove  as  much  of  the  beeswax 
as  possible.  As  beeswax  varies  in  its  composi- 
tion to  a  certain  extent,  the  solution  may  vary 
somewhat  in  consistency,  so  that  an  addition  of 
benzine  may  be  necessary  to  permit  polishing 
the  tins  easily. 

Clean  the  tins  occasionally  with  scalding 
water,  in  order  to  remove  any  particles  of 
gelatine  which  may  remain  on  them  from  for- 
mer prints. 

Mounting  Velox  prints  should  be  trimmed 
ro  size  desired  before  mounting. 
If  using  the  Kodak  Dry  Mounting  Tissue 
for  mounting,  do  not  trim  prints  until  after 
the  tissue  is  fastened  to  the  back  of  print. 
Prints    should   be   dry   and    perfectly   flat    for 

25 


trimming,  and  a  trimming  board  should  be 
used  instead  of  a  knife  and  ruler,  for  with  the 
board  absolutely  true  edges  may  be  obtained. 

The  simplest  and  most  satisfactory  way  to 
mount  prints  is  by  using  Kodak  Dry  Mounting 
Tissue,  as  by  this  process  the  prints  are  mount- 
ed in  absolute  contact  and  will  not  curl  even 
on  the  thinnest  mounts — especially  advanta- 
geous in  multiple  mounting. 

Two  prints  may  be  mounted  back  to  back, 
and  being  free  from  curl  can  then  be  used  as 
an  album  leaf. 

The  Kodak  Dry  Mounting  Tissue  is  dry  and 
not  sticky  to  handle,  mounting  is  accomplished 
quickly  and  no  time  is  lost  waiting  for  prints 
to  dry  after  mounting. 

Any  size  print  may  be  mounted  with  the 
tissue,  and  as  the  tissue  is  water-proof  there 
is  no  possibility  of  the  print  becoming  stained 
from  any  chemical  in  the  mount  stock. 

To  use  the  tissue,  lay  a  print  on  its  face  and 
tack  to  its  back  a  piece  of  tissue  of  the  same 
size,  by  applying  the  point  of  a  hot  iron  to 
small  spots  at  opposite  ends. 

Turn  the  print  face  up  and  trim  print  and 
tissue  to  desired  size.  Place  in  proper  posi- 
tion on  mount,  cover  the  print  with  a  piece  of 
smooth  paper  and  press  the  whole  surface  with 
a  hot  flatiron ;  press,  don't  rub. 

The  iron  should  be  just  hot  enough  to  siss 
when  touched  with  a  wet  finger.  If  the  iron  is 
too  hot  the  tissue  will  stick  to  the  mount  and 
not  to  the  print;  if  too  cold,  the  tissue  will 
stick  to  the  print  and  not  to  the  mount. 

Remedy — lower  or  raise  the  temperature  of 
the  iron  and  apply  again. 

26 


For  mounting  with  paste  the  following  plan 
is  best  to  employ : 

After  prints  are  trimmed,  immerse  them  in  a 
tray  of  clean  water,  allowing  them  to  soak  long 
enough  to  become  thoroughly  limp.  Remove  to 
a  good  sized  piece  of  clean  glass,  placing  them 
in  a  pile  face  down.  Cover  with  a  piece  of 
clean  blotting  paper,  and  with  a  roller  squeegee 
press  all  the  superfluous  water  from  the  pile. 
Then  with  a  good  bristle  paste  brush  apply  a 
thin,  even  coating  of  starch  paste.  Raise  the 
print  by  taking  hold  of  the  two  opposite  corners 
and  turning  it  over,  place  in  position  on  the 
mount.  Lay  a  clean,  dry  blotter  over  the  print 
and  with  the  roller  press  into  contact.  Any 
lint  or  fuzz  from  the  blotter,  or  any  paste  on 
the  surface  of  the  print  should  be  immediately 
removed  with  a  soft  sponge  or  dampened  cloth. 
Any  imperfections  in  the  finished  print  may  be 
corrected  by  spotting,  using  a  fine  sable  brush 
and  spotting  color  of  India  ink.  Care  should 
be  exercised  to  select  mounts  which  harmonize 
with  the  tone  of  the  print.  If  Sepia  prints  are 
to  be  mounted,  any  shade  of  brown  or  some  of 
the  deeper  reds  may  be  used,  but  these  same 
mounts  would  not  be  suitable  for  black  and 
white  tones.  For  the  black  and  white  prints 
any  shade  of  gray,  carbon  black,  buff  or  cream 
color  may  be  successfully  used. 

Double  weight  papers  may  be  mounted  solid, 
but  are  best  used  for  folder  effects.  A  very 
artistic  way  of  making  prints  with  the  Double 
Weight  is  to  use  a  sheet  of  paper  considerably 
larger  than  the  negative  to  be  printed  from. 
This  will  necessitate  the  use  of  a  larger  frame 
(6y2x8y2  or  8x10).  Have  a  piece  of  clear 
glass  the  full  size  of  the  frame  and  fasten  your 
negative  to  the  center  of  this  glass  with  strips 
of  gum  paper,  cut  a  mask  of  opaque  paper  the 
full  size  of  your  glass  and  from  the  center  cut 
an    opening   at   least   one-quarter    of    an    inch 

27 


smaller  than  the  size  of  the  negative.  Place 
the  mask  in  the  printing  frame  between  the 
paper  and  the  negative,  then  print  and  develop 
the  exposed  paper  in  the  usual  way.  This  will 
give  a  print  with  a  very  wide  white  margin  and 
when  thoroughly  dried  and  straightened,  by 
using  an  embossing  board,  an  imprint  or 
countersunk  margin  about  half  an  inch  around 
the  edges  of  the  print  will  give  a  tine  etching  or 
engraving  effect.  Enclosed  in  a  folder  mount 
made  of  cover  paper  of  desirable  tone,  you 
have  as  artistic  a  result  as  can  be  produced. 


Finishing  The  process  of  making  prints  on 
Velox  Velox  Post  Cards  is  identically  the 
Post  same  as  that  for  making  Velox 
Cards  Prints.  The  cards  are  sensitized 
on  one  side  only  and  the  reverse 
side  is  printed  to  conform  with  the  U.  S.  postal 
regulations.  A  printing  frame  and  a  glass  a 
size  larger  than  the  negative  should  be  used, 
and  the  cut-outs  found  in  each  package  of 
cards  may  be  used  for  making  the  negative. 
Place  the  mask  between  the  negative  and  the 
sensitized  side  of  the  Post  Card  and  the  result 
will  be  that  when  exposed,  developed  and  fixed 
the  same  as  an  ordinary  sheet  of  Velox  paper, 
you  will  have  your  picture  at  one  end  of  the 
card  surrounded  with  a  white  edge  of  the  part 
which  was  protected  by  the  opaque  mask.  Your 
negative  should  be  selected  the  same  as  when 
printing  with  Velox  paper  and  Contrast,  Reg- 
ular and  Special  Post  Cards  should  be  used. 
Where  contrast  is  desired,  the  Contrast  Velvet 
and  Regular  Velvet,  Regular  Glossy,  or  Regu- 
lar Royal  Post  Cards  will  give  the  best  results 
and  should  always  be  used  with  thin  negatives: 
the  Special  Velvet,  Special  Portrait,  Special 
Glossy  and  Special  Royal  Post  Cards  should 
be  used  for  stronger  negatives  and  when  soft 
effects  are  desired. 

28 


Double  Effective  and  artistic  work  may 
Printing  be  done  on  Velox  Post  Cards  by 
double  printing.  By  this  process 
gray  borders  and  ground  ma}'  be  produced. 
The  work  requires  careful  and  exact  cutting 
of  the  necessary  opaque  masks  and  accurate 
registry  of  the  cards  when  printing.  Provide 
a  number  of  pieces  of  clear  glass,  cut  to  size 
5x7  (old  negatives  from  which  the  emulsion 
has  been  thoroughly  cleaned  by  soaking  in  a 
solution  of  hot  water  and  salsoda  are  suitable), 
also  a  few  sheets  of  opaque  paper  the  same 
size  [5x7).  From  one  of  these  sheets  make 
a  mask  as  shown  in  Fig.  1.     (Page  31.) 

Measure  from  edges  A  and  B  a  space  five- 
eighths  of  an  inch  wide,  then  cut  an  opening 
2x3  inches  through  which  your  negative  and 
card  are  to  be  exposed.  Fasten  the  negative 
with  strips  of  adhesive  paper  to  one  of  the 
pieces  of  clear  glass,  placing  that  portion  to 
be  printed  directly  in  under  the  opening  in  the 
mask.  Adjust  glass,  negative  and  mask  in 
printing  frame,  lay  on  the  Velox  Post  Card, 
sensitized  side  down,  so  that  one  end  covers 
the  opening  in  the  mask.  Be  careful  to  have 
the  edges  A  and  B  of  glass,  mask  and  card  fit 
flush  against  the  corresponding  sides  of  the 
printing  frame.  Expose  to  printing  light,  giv- 
ing correct  time  required  for  a  perfect  print, 
remove  the  entire  outfit  from  the  printing 
frame  and  insert  glass  and  mask  Xo.  2,  which 
you  will  have  previously  prepared,  as  shown 
in  Fig.  2. 

From  another  piece  of  opaque  paper  5x7 
cut  an  opening  3x5  inches  and  measure  exact 
so  as  to  leave  margins  of  one-quarter  inch  on 
the  sides  A  and  B.  Gum  this  mask  securely  to 
another  glass,  then  cut  a  piece  of  opaque  paper 
2;4  x  V/\  inches  and  gum  this  in  a  clear  space 
at  a  distance  of  exactly  one-half  an  inch  from 
edges   A  and  B.       Place  this   entire   outfit   in 

29 


printing  frame,  lay  on  Velox  Post  Card,  previ- 
ously exposed  under  No.  1  mask,  fit  edges  flush 
into  the  corner  of  the  frame  and  expose.  This 
second  exposure  should  be  just  enough  to  pro- 
duce the  desired  tint,  governing  time  by  grade 
of  Velox  used.  If  the  exposure  has  been  too 
great  the  border  will  be  dark,  if  ander-expo*d 
the  border  tint  will  be  light.  A  little  practice 
may  be  necessary  in  order  to  secure  the  tint 
desired. 

Now,  if  you  have  made  all  measurements 
accurately  and  exposure  and  development  have 
been  correct,  you  will  have  on  a  finished  post 
card  your  picture  2x3  in  size  surrounded  by 
a  gray  border  one-quarter  of  an  inch  wide  on 
top  and  one  side,  and  one-half  inch  wide  at 
bottom  and  one  and  one-half  on  other  side. 
The  tint  of  this  border  should  be  a  slaty  gray 
and  should  harmonize  with  the  black  tone  of 
your  print. 

Other  forms,  such  as  ovals  and  circles,  may 
be  made  and  the  process  for  their  making  is 
the  same  as  already  described. 


30 


No.  1 


Shaded    portions     represent    opaque    paper. 
White  portion  shows  part  cut  out. 

No.  2 


Shaded    portions     represent    opaque 
White  portion  shows  part  cut  out. 

31 


paper. 


Sopia  Tones  There  are  occasions  when  it  is 
on  Velox  desirable  to  modify  the  tone  of 
Velox  prints,  in  order  to  secure 
some  effect  more  in-  keeping  with  the  subject 
than  the  original  color  produced  by  develop- 
ment only.  The  Sepia  Tone  is  permanent  and 
may  be  secured  in  various  ways,  but  we  will 
describe  only  two  of  these:  the  first  known  as 
the  hypo-alum  process,  and  the  second,  Velox 
Re-development.  The  hypo-alum  process  is  a 
slow  and  somewhat  uncertain  way  of  obtaining 
good  results  and  consists  of  a  solution  of  hypo 
and  powdered  alum  in  boiling  water,  into 
which,  when  cooled,  the  prints  are  immersed, 
and  left  until  the  desired  tone  has  been  reached. 
The  process  requires  from  one  to  twelve  hours 
and  is  uncertain  in  exact  results.  The  Yelox 
Re-development  process  will  give  the  best  re- 
sults in  a  much  shorter  time,  yielding  equally 
pleasing  and  permanent  tones.  Prints  on  any 
grade  or  surface  of  Velox  afford  most  pleasing 
tones  when  re-developed,  but  re-development  is 
perhaps  specially  advantageous  for  prints  on 
Royal  Velox,  as  the  process  brings  out  and 
accentuates  the  full  value  of  the  soft,  creamy 
stock  upon  which  Royal  Velox  is  coated ;  the 
finished  prints  possessing  an  almost  indescrib- 
able softness  and  delicacy. 

Velox  prints  of  any  grade  or  surface,  which 
have  been  evenly  and  thoroughly  fixed  and 
washed  will  give  desirable  results  with  the  Re- 
developer,  but  some  subjects,  such  as  marines 
and  snow  scenes,  are  best  rendered  in  the 
black  and  white.  Landscapes,  autumn  scenes, 
and  portraits  are  given  greater  artistic  values 
by  the  warmth  of  tone  which  the  Re-developer 
affords. 

A  package  of  Re-developer  consists  of  14 
powders  and  a  bottle  of  solution.  Each  powder 
is  composed  of  chemicals  which  require  only 
the  addition  of  a  certain  quantity  of  water  to 

32 


make  a  bleaching  bath  for  the  reduction  of  the 
print  before  re-development.  The  liquid  con- 
tained in  the  bottle  is  highly  concentrated  and 
should  be  used  carefully,  the  entire  contents  of 
a  4  ounce  bottle  being  sufficient  to  re-develop 
about  four  hundred  4x5  Yelox  prints.  It  is 
important  that  the  prints  should  have  been 
thoroughly  washed  so  that  no  trace  of  hypo 
remains.  In  order  to  obtain  the  best  results,  it 
would  be  advisable  to  have  the  prints  dry  be- 
fore re-developing.  Placing  the  black  and 
white  print  in  the  bleaching  solution,  let  it  re- 
main until  all  trace  of  black  has  disappeared 
(about  one  minute)  from  the  shadows;  it 
should  then  be  removed  and  rinsed  thoroughly 
in  fresh  water,  then  placed  in  re-developing 
solution,  where  the  faint  image  immediately, 
changes  to  a  warm  brown  tone  gradually  deep- 
ening until  all  its  former  brilliancy  returns,  but 
changed  to  a  Sepia  tone  instead  of  black  and 
white.  This  requires  about  thirty  seconds.  Too 
strong  a  solution  of  Re-developer  or  too  long 
immersion  in  this  solution  will  cause  blisters. 
After  re-development  rinse  the  prints,  when 
they  should  be  immersed  in  a  hardening  bath 
composed  of  Yelox  Liquid  Hardener  1  ounce ; 
water,  16  ounces.  A  final  washing  is  then  given 
the  print,  the  whole  process  requiring  only  a 
short  time,  so  the  advantages  of  using  this 
over  the  hypo-alum  process  are  quite  evident. 
Yelox  Re-developer  will  also  produce  excel- 
lent Sepia  tones  on  any  Bromide  or  gas-light 
paper ;  the  age  of  the  print  does  not  seemingly 
make  any  difference  in  the  tones  obtainable. 
Best  results  are  obtainable  from  prints  which 
have  a  good  bluish-black  tone,  rather  than  a 
green  or  olive  tone,  such  as  is  produced  by  the 
use  of  too  much  bromide.  Both  the  bleaching 
and  the  re-developing  baths  will  retain  their 
strength  for  some  time,  if  kept  in  well  stop- 
pered bottles.  If  the  print  shows  a  tendency 
to  blister,  it  doubtless  comes  from  insufficient 

33 


hardening  of  the  black  and  white  prints. 
Remedy — use  a  fresh  and  absolutely  correct 
acid  hypo  bath  at  a  temperature  of  50  or  60 
degrees,  fixing  the  prints  20  to  25  minutes. 

How  to     The  negative  must  be  thoroughly 
Make        washed  and  freed  from  any  trace 
Prints       of  hypo.  Immerse  a  piece  of  Velox 
from  Wet  paper    in    clean    water    for   a    few 
Negatives   seconds,  then  placing  it  on  the  him 
side  of  the  wet  negative  squeegee 
it  carefully  so  as  not  to  break  the  film.  Expose 
without  the  use  of  a  printing  frame.  After  ex- 
posure place  both  negative  and  paper  in  water, 
allowing  them   to  soak   for  a  moment  before 
trying  to  separate  them.     Develop  and  fix  the 
print  in  the  usual  w-ay. 

How  to     Ordinary  gloss  starch  dissolved  in 
Make       just  enough  cold  water  to  make  a 
Good        thick    solution     is    prepared,    and 
Starch       enough  boiling  water  poured  into 
Paste        it  so  it  thickens  in  a  clear,  trans- 
parent jelly.     Set  aside  and  when 
cool  remove  the  skin  which  forms  and  use  the 
clear  paste. 

To  Rub  the  surface  of  the  dry  print 

Remove  with    a    tuft    of    cotton    wet    with 

Friction  wood   alcohol.     Do    not    rub   hard 

Marks  enough  to  break  the  surface  of  the 

from  lilm   and   be   careful    to   have    the 

Glossy  print  on  some  level  surface,   such 

Vclox  as  a  piece  of  glass. 

Prints  X.    A.    Yelox    Liquid    Developer 

entirely  prevents  abrasion   marks. 

After  a  careful  perusal  of  the  instructions 
given  in  this  Yelox  Book  you  should  be  able 
to  produce  satisfactory  results  on  any  grade  of 
Velox  paper. 

34 


Causes  of  Non-Success 

By  consulting  the  following  causes  of  failure 
you  will  probably  be  able  to  locate  any  trouble 
you  may  have  had : 

Paper  found  to  be  defective  through  fault  in 
manufacture  will  be  exchanged  free  of  charge, 
if  returned  before  the  expiration  date  which 
is  stamped  upon  each  package. 

//  you  are  unsuccessful  and  believe  that  you 
have  a  defective  paper,  return  tlie  unexposed 
sheets  in  original  package,  together  with  a  print 
shoii'ing  nature  of  the  defect  and  zee  will  make 
a  test,  notifying  you  promptly  as  to  the  cause 
of  your  non-success. 
Prints  are  too  black 

Over-exposure. 

Over-development. 

Insufficient  Potassium  Bromide. 

Negative  too  weak  or  thin. 

Perhaps  the  wrong  degree  of  contrast  of  pa- 
per  was    used ;    try    Contrast    or    Regular 
Velvet  Yelox. 
Prints   are  too   light,   lack   detail 

Under-exposure. 

Negative  too  dense  for  Regular  paper. 

Trv     Special     Velvet,     or     Special     Portrait 
Velox. 
Grayish   whites  throughout   entire  print 

Chemical  or  light  fog. 

Insufficient  Potassium  Bromide  in  developer. 
Old  paper. 
Grayish  mottled  or  granulated  appearance   of 
edges    of   entire   print 

Under-exposure,   forced   development. 

Old  paper. 

Paper  kept  in  damp  place. 

Moisture. 

Chemical  fumes,  Ammonia,  etc. 

Illuminating  or  coal  gas. 

35 


Greenish   or   brownish   tones,   sometimes  mot- 
tled 


Developer  too  old  or  too  weak. 
Excess  of  Potassium  Bromide. 
Over-exposure. 

Greenish    yellow    stains    noticed    when    X.    A. 
Velox   Liquid   Developer   has   been  used 

Under-exposure  and   forcing. 

Canary  yellow  stains  produced  when  N.  A.  V. 
L.  D.  has  been  used 

Fixes  out  entirely  in  correctly  prepared  acid 
Hypo  bath.     (See  page  23  for  formula.) 

The  entire  disappearance  of  this  color  in- 
sures correct  fixing. 

Brown  or  red   stains 

Old  or  oxidized  developer.  (Never  use  de- 
veloper after  it  is  much  discolored  or 
muddy.)      Imperfect   fixing. 

Developer  too  warm. 

Fixing  bath  lacks  sufficient  acid  and  prints 
were  not  kept  moving  to  allow  even  fixing. 
(See  page  22.) 

Purple  discoloration    (Not  Frequent) 

Velox  Paper  has  been  used  as  a  printing-out 

paper. 
Incomplete   fixing. 

Round  white  spots 

Air-bells  on  the  surface  of  paper. 
To  avoid,  develop   prints   face  up,   brushing 
off  any  air-bells  that  may  form. 

Round  or  irregular  dark  spots 

Caused  by  air-bells  forming  on  the  surface 
of  print  when  placed  face  down  in  fixing 
bath,  and  failing  to  keep  prints  in  motion. 

36 


White  deposits  all  over  surfaee  of  print 

Milky  Hypo  bath. 

If  print  is  thoroughly  washed  and  deposit  is 

removed  before  drying  it  does  no  harm. 
Correct   fixing  bath  by  adding  more   Xo.  8 

Acetic  Acid. 

Picture  good,  but  surface  covered  with  black 
marks 

Abrasion  marks.     (See  page  20.) 

Blisters 

Prints   have   been   creased   or  broken   while 

washing. 
Do   not   allow    water    from   the    tap    to    fall 

directly  on  the  prints. 
Too  strong  acetic  acid  used  in  hardener. 
Too  great  difference  between  temperature  of 

solution  and  wash-water. 
Fixing  bath  lacks  sufficient  hardener. 
Never  use  a  plain  Hypo  Fixing  bath:  always, 

acidify  with   Velox  Liquid  Hardener. 

Blisters  occurring  during-  re-development 

(See  page  33.) 

Freaks 

Picture  develops  irregularly  and  appears  to 
be  covered  with  greasy  streaks  and  finger 
marks  and  gives  the  impression  that  there 
are  spots  on  the  paper  which  have  never 
been  coated.  Of  all  complaints  received 
regarding  Velox  paper,  none  are  caused 
by  any  condition  more  annoying  than  this 
"freak"  trouble.  It  is  annoying  to  the  pho- 
tographer because  he  feels  sure  the  fault 
is  in  the  paper,  and  annoying  to  us  be- 
cause we  know  that  the  fault  lies  in  incor- 
rect solutions.  We  publish  herewith  a 
half-tone  of  this  curious  effect.  It  is  in 
warm  weather  when  the  humidity  is  great 
that  these  "freaks"  most  frequently  occur. 

37 


Dez'elofed  in  M.  Q.  half  as  strong  as 
that  advised  in   instruction   sheet. 


Developed  in  M.  Q.  strength  as 
advised  in  instruction  sheet. 


Undoubtedly  the  paper  absorbs  moisture  un- 
evenly and  in  certain  spots  becomes  re- 
pellent to  the  action  of  an  incorrect  devel- 

3S 


oper.  In  making  up  a  developing  solution 
it  is  absolutely  essential  that  pure  chem- 
icals be  used,  and  as  Velox  requires  a  bath 
that  contains  about  one-third  more  Car- 
bonate of  Soda  than  Sulphite  of  Soda,  it 
is  easy  to  see  that  any  mistake  made  in  the 
proportion  of  either  chemical  would  be  apt 
to  cause  trouble.  The  remedy  for  "freaks" 
is  to  throw  out  your  developer  and  mix  a 
fresh  solution,  and,  if  necessary,  use  it 
stronger. 

It  sometimes  happens  that  one  package  of 
Velox  will  freak  in  a  certain  developer 
while  another  will  not.  This  is  not  proof 
that  the  paper  is  defective,  but  simply 
shows  that  one  package  has  been  kept  un- 
der different  conditions  from  the  other  at 
some  time  since  it  left  our  factory,  and 
because  of  this  is  more  susceptible  to  the 
action  of  an  incorrect  developer.  Both 
packages,  however,  will  give  good  results 
if  the   solution  used  is  absolutely  correct. 

Yellowish   -whites  when  other  than  X.   A.  has 
been  used 

Stain  all  over  prints  is  result  of  under- 
exposing and  forcing. 

Prints  not  kept  moving  for  the  first  few 
seconds  after  immersion  in  the  acid  'hypo 
fixing  bath. 

Too  weak  developer. 

Insufficient  washing  and  fixing. 

Iron  in  wash-water — may  come  from  rust  in 
water  pipes. 

Sea  air  will  affect  Velox,  causing  yellow 
whites,  so  packages  should  not  be  left  open 
and  prints  should  be  developed  imrnedi- 
ateiy  after  exposure. 

39 


Permanency  The  permanency  of  Velox 
prints  has  never  been  ques- 
tioned. Permanency  of  any  Velox  print  de- 
pends upon  the  thoroughness  of  manipulation. 
It  is  beyond  question  that  with  correct  devel- 
oper freshly  prepared  and  with  thorough  fix- 
ing and  washing,  Velox  prints  will  be  abso- 
lutely permanent.  Many  dealers  have  sample 
prints  that  were  sent  them  years  ago  and  have 
exposed  them  continually  to  every  conceivable 
atmospheric  condition.  This  is  an  unanswer- 
able argument  in  favor  of  Velox  permanency. 

Be  Sure  to  Use  Pure  Chemicals 

To  get  the  best  prints  from  your  negatives 
it  is  imperative  that  the  chemicals  which  you 
use  be  absolutely  pure. 

For  all  our  papers  we  furnish  powders  and 
solutions  mixed  in  just  the  proper  proportions 
and  compounded  from  the  purest  chemicalls, 
rigidly  tested  in  our  own  laboratories. 

But  we  go  even  further  than  this.  For  those 
who  prefer  to  mix  their  own  solutions  by 
formula,  we  have  prepared 
a  line  of  carefully  tested 
standard  photographic  /x^  ■  ^\ 
chemicals. 

Don't    mar   good    paper 
with  inferior  chemicals. 

This  seal  stands  for  the 
highest  purity.  Be  sure  it's  x^M  l^^ 

on  the  package  before  pur- 
chasing. 

NEPERA  DIVISION, 
Eastman  Kodak  Co., 
Rochester,  N.  Y. 


40 


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42 


VELOX  IN  ROLLS  FOR  CIRKUT 
NEGATIVES 

Single  Weight 


Rolls 

5  In. 
Wide 

6  In. 
Wide 

61,  In. 
Wide 

8  In. 
Wide 

10  In. 

Wide 

16  In. 

Wide 

25  ft. 

$1.25 

$1.50 

51.65 

$2.00 

$2.50 

$4.00 

50  ft. 

2.50 

3.00 

3.30 

4.00 

5.00 

8-00 

100ft. 

5  00 

6.00 

6.60 

8  00 

10.00 

16.00 

Double  Weight 


25  ft. 

1.60 

1  90 

2.10 

2.50 

3.15 

5.00 

50  ft. 

3.20 

3.80 

4.20 

5.00 

6.30 

10.00 

100  ft. 

6.40 

7.60 

8.40 

10.00 

12.60 

20.00 

Price  List  —  Continued 

Velox  Post  Cards — Contrast  Velvet,  Regular  Vel- 
vet, Special  Velvet.  Special  Portrait,  Regular  and 
Special  Glossy,  and  Regular  and  Special  Royal,  20 
cents  per  dozen;   Si. 10  per   y2   gross;   $2.00  per  gross. 

These  are  pieces  of  Double  Weight  Velox,  $y2  x  5y2 
inches,  on  the  uncoated  side  of  which  is  printed  mat- 
ter in  accordance  with  the  United  States  Postal  Laws, 
while  the  sensitive  sides  are  to  be  treated  in  the  same 
way   as  the   regular  product. 

Velox  Double  Post  Cards,  3^x11  inches,  per 
dozen,  40  cents;    Y^  gross,  $2.20;   gross,  $4.00. 

Brownie  Velox  Post  Cards,  2&x4}4,  Velvet,  Spec- 
ial or  Regular,  per  dozen,  15  cents;  l/2  gross,  80  cents; 
gross,  $1.50. 

43 


*X.  A.  Velox  Liquid  Developer,  4-oz.  bottle..  $  .25 
*N.  A.  Velox  Liquid  Developer,  16-oz.  bottle..  .75 
*Non-Abrasion   M.   O.   Developer  Tubes,  per  box 

of  3   tubes    25 

*Nepera    Solution,   4-oz.    bottle,    a    Universal    De- 
veloper    (  see     page    21)      20 

Do.,    ]  6    ozs 60 

*Xepera   Auxiliary   Powders,  per  doz 15 

*Nepera   M.   O.   Tubes,   Non- Abrasion,  box  of   5 

tubes    75 

'Kodak   Acid   Fixing   Powder,    lib.   package 25 

Do.,    \A    lb 15 

Do.,    VA    lb 10 

*Velox   Liquid   Hardener,   8  oz.   bottle    (sufficient 

to   acidify   8   pints   of   hypo   solution) 25 

Do.,  4  oz.  bottle 15 

*  Velox    Re-developer,   per   package   containing    14 
Powders     (bleaching    agent)     and    4    ozs.    of 

Concentrated    Re-developer    50 

Do.,  2  oz.  bottle,  per  package 30 

*Velox  Re-developer,  in  glass  tubes,  per  package 

of   12  tubes    60 

*E.  K.  Co.  Carbonate  of  Soda,  per  Mb.  bottle..  .20 
*E.    K.   Co.    Sulphite  of   Soda,   per   lib.   bottle..        .30 

*Elon,   per   oz 50 

*Hydrochinon,    per    oz.    bottle 15 

'Potassium    Bromide,    per    oz 09 

*Acetic  Acid   (28  per  cent.)    per   Y>   lb 14 

*Hypo,   Granular,    per   lb 08 

*.\lum,   powdered,   per  lb 10 

Ferrotype    Plates,    10x14,   light   weight,    each..        .15 

Do.,   heavy,   each    20 

Do.,    18x24,   heavy,   each    75 

Kodak  Print   Roller,   Double,   6   in 50 

Flexo   Print   Roller,    Single,   4   in 15 

Squeegees,   Velvet   Rubber,   4j£    in.,   each    .20 

Do.,   6   inch    25 

Do.,   8  inch    30 

Developing    Trays,     "Bulls    Eye"     Composition, 

4x5,  each    15 

Do.,   5  x  7,   each    25 

44 


Eastman  Enameled  Trays,  4^x5%,  each    $  .25 

Do.,   5H  x  7H,   each    50 

Eastman    Standard    Hard    Rubber    Trays,    4^x 

5Ti,   each    72 

Do.,   5  H  x  7 H  .   each    90 

Eastman    Graduates.      (Engraved.)      1     dram.     1 

or   2    ounce    20 

Do.,   4   ounce    25 

Do.,  8  ounce    40 

Do.,   16  ounce    60 

Eastman  Printing  Frame,  3^4  x3^,  opens  two- 
thirds     25 

Do.,   3J4X4J4,   opens   two-thirds 25 

Do.,   3JA  x  5y>,   opens  two-thirds 25 

Do.,   4  x  5,   opens   two-thirds    25 

Do.,   5  x  7,   opens  two-thirds    35 

Do.,  3J-2  x  12,  for  Xo.  4  Panoram  Kodak,  opens 

in  3   sections    75 

Do.,  2lA  x  7,   for  No.    1   Panoram-Kodak,   opens 

in  2   sections    30 

Brownie   Printing   Frame,   Xo.    1,    for   2JA  x  2 A 

Developing    paper    only    10 

Brownie   Printing   Frame,   Xo.    2,    for   2%  x  334 

Developing    paper    only    15 

Stereo     Self-transposing     Printing     Frame,     for 
making      3A*-21A>      stereo      prints      without 

cutting   negatives   apart    1.50 

Century   Printing   Frame,   4x5    45 

Do.,    5x7    50 

Do.,  6J/2  x  8j£    60 

Do.,    8x10    75 


Trices  subject  to   change   without  notice. 

XEPERA  DIVISION, 
East  max  Kodak  Co., 
Rochester,  X.  Y 


45 


COLOR 

YOUR 

OWN 

PRINTS 

and 

LANTERN  SLIDES 

USE 

Velox  Transparent 
Water  Color  Stamp  Outfit 

No  Experience  Necessary 

The  outfit  consists  of  an  Artist's  Mixing 
Palette,  three  special  Camel's  Hair  Brushes, 
and  one  book  of  Velox  Transparent  Water 
Color  Stamps  (12  Colors). 

Trice $  .75 


EASTMAN  KODAK  CO, 

Rochester,  N.  Y. 


All  Dealers' 


40 


PRINTS     DO     NOT     CURL 
WHEN    MOUNTED     WITH 

KODAK 

DRY  MOUNTING 

TISSUE 


J> 


No  Bother  No   Muss 

No  Sticky  Fingers 

Just  the  Tissue  and  Flatiron 


EASTMAN  KODAK  CO. 

Rochester,  N.  Y. 

All  Dealers' 


47 


KODAK 

Metal  Tripod 

An  ideal  hand  camera  tripod, 
combining  rigidity  with  light 
weight  and  compactness.  The 
Nos.  1  and  2  have  revolving  head 
with  milled  edges,  making  it 
easy  to  attach  or  tighten  camera 
while  the  tripod  is  set  up.  Legs 
made  of  brass  tubing,  each  sec- 
tion telescoping  into  the  section 
above  it.  Lower  sections  nick- 
eled; upper  section,  black  enam- 
eled. Any  section  may  be  re- 
moved for  the  replacing  of  a 
spring  should  one  become  inop- 
erative through  wear  or  accident. 

No.  0,  3  Sections,  $1.60 

No.  1,  4  Sections,  $2.50 

No.  2,  5  Sections,  $3.25 

Leather      Carrying      Case      for 

Nos.  0,  1  or  2,  $1.50 

Leatherette   Carrying-   Case   for 
the  No.  0,  $  .75 


EASTMAN  KODAK  CO. 

ROCHESTER,  N.  Y. 
All  Dealers' 

48 


The  Danger  Signal 

When  using  X.  A.  Yelox  Liquid  Developer, 
the  print  turns  a  canary  yellow,  and  this 
color  does  not  disappear  until  fixing;  is  com- 
plete. 

Fifteen  minutes  in  the  Acid  Fixing-  Bath 
will  remove  this  color,  provided  the  bath  is 
of  proper  strength. 

If  the  color  remains,  the  print  is  not  fixed, 
and  should  be  allowed  to  remain  longer  in 
the  fixing  bath,  or  transferred  to  one  of 
proper  strength. 

XEPERA  DIVISION, 
EASTMAN  KODAK  CO. 


GETTY  CENTER  LIBRARY 


3  3125  00017  2573 


FRENCH   DRUG  COMPANY 
11TH  AND  C  STREETS 
TACOMA,  WASH. 


